Somewhere over rainbow ...2 A He's a manly m an... January 14 - January 20

•ENSEMBLE NOVA, a group of faculty musicians from UC Santa Cruz dedicated to the performance of 20th century music, will perform “New Music for Old Instruments;" Lotte Lehmann Concert Hall, 8 p.m.

•CHINESE NEW YEAR CELEBRATION at noon in Storke Plaza; semiformal banquet and dance at the Goleta Valley Community Center, 6 p.m. - 1 a.m. s aturday •THE PIED PIPER, performed by the Missoula Children1s Theatre; Lobero Theatre, 2 and 4 p.m.

•TOTO LE HEROS, a bittersweet film by Belgian filmmaker Jaco Van Dormael; Campbell Hall, 7 p.m.

•MARTIN LUTHER KING, JR. DAY - as long as you've got the day off from school, why don't you do something constructive?

•DEEP SPACE NINE - it's that new Star Trek spin-off that everybody is watching; Channel 13, 9 p.m. Wednesday •MASTER CLASS WITH PEABODY Artist/Activist Jefry Kearns TRIO, the artists-in-resi- Exposes the Subtleties of the dence from the Baltimore Familiar in University Art Exhibit Peabody Conservatory; Lotte Lehmann, 7 see review, page 4A p.m. 2A Thursday, January 14,1993 ARTSWEEK Daily Nexus

Make Your Valentine’s Valentine’s Day The Back Door o' Blues Extra Special! American Music Featured at Put a Cozy New Downtown Cafe Valentine’s Day estled in a cozy comer away from the chain- Greeting in the gang of popular bars and cafes that line State Nexus* Special Street, the Bluebird Cafe adds a whole new di­ Valentine’s Day Issue! mension to Santa Barbara’s music scene by of­ N fering home-grown blues and traditional American Come to the Nexus Ad Office under Storke music that is often overlooked at the trendier spots. Tower, and fill out a special V greeting your The Bluebird itself sometimes gets overlooked be­ own way! Cost - $5 for a 1", $7 for 2". cause of its location in the Victoria Court— around the back, up the stairs and to the right — but owner Peter We are open M-F 8-5. For info, call 893-3829. Feldmann says it’s not so hard to find, and once you’re there, it’s quite possible you will get much more than you expected. “I’ve seen a lot of places that will have live bands as a means of attracting more customers to the restaurant or bar,” he said, “but I opened the Bluebird to feature the music itself, and to provide a really good setting for musi­ GET CA$H cians to play in.” Feldmann explained that the bands he features nightly FOR USED COMPACT DISCSI at the cafe play everything from blues and bluegrass to • Highest prices paid! American folk and Cajun music, in the hopes that people • W e’ll give you instant cash! will take a chance and explore the roots of the rock and • Y ou’ll get unlim ited 10% discounts forever! popular music they listen to today. • Large collection? We’ll com e to y o u ! “In a way, we are trying to educate the public about musical styles that really don’t have a home at any other clubs or bars in Santa Barbara,” he said. “It’s great be­ The Bluebird Cafe downtown features blues, folk, morninglory cause we have no competition, but it’s always surprised bluegrass and Cajun music in a bar atmosphere. me that people don’t pay more attention to their musical roots.” é r h In addition to local and nationally known performers, “I have to juggle that cost with the reality of our sound “W e’ll R ecycle Your M uslc” the Bluebird also features Open Mike Night every Mon­ system costs and musicians’ fees,” he said, adding that Downtown *1218 State Street • 966-0266 day. Hie only thing Feldmann asks is that the musicians varying fees produce varying cover charges, and that the 22 Isla VistaVista*910 *910 Embarcadero del NorteNorte«ubu-obM» • 968-4665 ^ play anything but rock or more commercial material best thing for potential patrons to do is simply “call be­ i which, he says, is easily booked at many other places. fore coming down.” Such a request is appealing to blues musicians like UCSB student Jon Payne, who, as a member of Isla “And of course, there’s always the great food,” he Vista’s Cobalt Blues Band, agrees that the form as a added. Once the days get warmer, Feldmann hopes to be whole is underrepresented in Santa Barbara’s music serving up a good blues jam with the morning toast and scene. coffee, as well as lunch, which is currently being served “1 think the Bluebird will turn out to be a cool place to indoors. hear music — it’s like a big, well-lit blues bar,” he said. Thursday, Jan. 14 Juke Box 9-12pm "It’s just kind of hard to find the first time, thafs all.” Feldmann is the first to admit that running a blues bar Feldmann, who has been (derating the Bluebird for and restaurant is hard to do, given that relatively few Friday, Jan. 15 Sinister Fisch 9-12pm just about two months now, figures mat only time will people are familiar with the music and the people that tell. “My objective is to feature as much music as I can,” play and live it. But he’s also the first to say that it’s defi­ Saturday, Jan. 16 Nick Pyzow 9-12pm he said, adding that the cost of running the place — in­ nitely worth it. “It’s easy to get burnt out,” he remarked, cluding various city, alcohol and live performance per­ “but I just keep coming back.” Sunday, Jan. 17 Late Night Happy Hour mits and licences — is a hefty $27,000 a month. —Jeanine Natale ------, i, ------Monday, Jan. 18 RegularStuff Tuesday, Jan. 19 Jeff Pine 9-12pm Fresh Music for the Masses Wednesday, Jan. 20 Marv Green 9-12pm hese days, classi­ cal music perfor­ mances have a T tendency to re­ flect the tastes of the music “lovers” who fund them. 1É%96>4-521Í:JÍ This necessary fact of capi­ talism can make for some dull programs of well- known ear candy. Tchai­ kovsky’s Pathetique, Beethoven’s Ninth, eta — this is the stuff music sup­ porters eat up, perfor­ mance after performance HEY UCSB! after performance. Works by young composers of this generation often fall by the wayside under the Two conductors and 12 musicians make up Octagon, a UC new music ensemble. demand for the oft-played, hum-along works of the 18th and 19th centuries. harmonic Music Director form new works by UC will be taking their innova­ Of course, this isn’t al­ Esa-Pekka Salonen is fry­ student composers. Lots tive music across Califor­ ways the case. A few dar­ ing to do it And, at the UC of times, pieces by student nia and all the way to the ing musicians and conduc­ level, a group of college composers are premiered East Coast. They’ll hit tors are attempting to tear musicians and composers by amateur-sounding en­ UCSB’s Geirenger Hall on down the walls which se­ has banded together in an sembles and never reach Jan. 16 at 8 p.m. parate aspiring young effort to bring new music ears outside their own The seven compositions composers and the audi­ — their music — to the campus. But Octagon, a Octagon is taking on tour ences who might actually masses. group of 12 musicians and were selected by a commit­ listen to, and support, The Octagon New two conductors, are a tee of composers from ROCK N'SftMft. their music. Kronos has professional-sounding works gathered by a UC- Music Ensemble is a group THURSDAY MIGHTS done it. Los Angeles Phil- of UC musicians who per­ group of musicians who wide competition. All were written by UC gradu­ 9:30 pm - Midnight The AifW0 ^'ätiveï JA Itern ative. ate students, including one titled, “Crazy jay Ä&oJattfs Busiest Full s |g|;j blue,” by UCSB’s own Ke­ vin Doe. Two UCSB musi­ ü 1O%0iscount w/ student i.D. cians, flutist Betsey Cuffel and percussionist Jo­ nathan Nathan, will be — * -irh/A f r o m i p j among the players. It’s a refreshing change to see budding composers’ works on display under ■ Great choice of the hands of talented and A l you can Bowl, $10/person • Domino's P isa • 99< Beer versatile musicians, and it KTVD Dl plays Rock Mask, Videos ^•comicbooks sure as hell beats a n o th e r Win Prizes from Compact Disc ft Tape Store ;| | J | a huge scl«fi de riguer performance of, oh, Handel’s M essia h . ORCH/DBOWL —Bonnie Bills MINUTES FROM CAMPUS 5756 Calle Real • 967-8980 5925 C a le Real • Hwy 101 at Fakview la (M eta • 967-0128 | (1/2 mils south ot Falrvlew) HOURS: Mon-Sat 10a»-8pm / Sun | Daily Nexus ARTSWEEK Thursday, January 14,1993 3 A

music reviews Slice, Slice, Baby Rogue Cheddar buy that whole crappy album. Also, when S lic e playing a particularly dull L.P. on your Self-produced phonograph — Rick Springfield, for in­ ☆ ☆ ☆ stance — the 45 knob will accelerate die Somewhere, somehow, you’ve got a music to hilarious speeds. A Chipmunk’s phonograph stashed away. rendition of “They Call Me Bruce” is re­ C’mon, you’re not that young, sport— ally quite funny. so go get it. It’s probably in your mom’s at­ Why, you may ask, has Rogue Cheddar tic or being used by an older brother as a decided to use this ancient medium for conversation piece. Nearby this old relic their newest release? Because it’s cool, you’ll find a stack of albums, just as old: that’s why. And the music is not to disap­ Billy Ocean, The Village People, stuff like point Each cut— two per side— is short, that. Get rid of all that crap, and that in­ last and P ix iesish in intensity, totalling cludes the Rick Springfields. Without the about six minutes of grinding, danceable phonograph, however, you won’t be able Rogue Cheddar. Darryl Sweet’s voice to hear Rogue Cheddar’s newest little sounds alarmingly like Johnny Lydon’s. number, S lic e. The lyrics are, as usual, a bit silly (most Rogue Cheddar, the ever-fun anthem memorable line: “Some of my friends are boys, released S lic e not in demo tape trippin’ on acid”), but that’s just part of form, but as a 45. If you’ve forgotten, 45s the R.C. experience. The worst thing ab­ are those cute little vinyls with a single on out S lic e is that it stands a full two inches each side, so that you could buy Asia’s taller than you, forcing you to look up its Local boys Rogue Cheddar do it in wax with their newest release, 'Slice.' “Heat of die Moment” without having to nose. —Don Frances Death in a Two-piece Displays Rawness Bikini Kill Bikini K ill Kill Rock Stare Records ☆ ☆ ☆ ☆ As you may or may not know, a band named Bikini Kill blew through town afew months back. Due to the di­ ligence of a few student organizers and a burst of intelli­ gence from the Anaconda’s management, the quartet performed at a benefit show with San Francisco’s Mudwinnin. Needless to say, the four-piece juggernaut blew me away. I stood absolutely mesmerized as this band — comprised of a stoic and introverted bass player, a singer that resembled a pissed-off cheerleader from hell, a seemingly sloppy-drunk drummer, and a guitarist whom I was convinced was high on smack— tore the frame out of the place. I was struck by the raw energy and intensity of these four very different individuals who coalesced into one of the most “EMO” punk rock experiences I’ve ever had. Bikini Kill has finally released a six-song self-tided E.P. on the Kill Rock Stars label. Needless to say, it kicks more ass than a torture camp for donkeys. The album displays the same anger, rawness and energy that was ef­ fectively captured on wax by Ian MacKaye, Don Zien- tara and Pat Maley. Every song rocks. Period. Get it Now. Especially if you’re a man. You’re bound to see some reference to that latest issue of Sassy Magazine somewhere. Unfortunately, Bikini Kill is no more, as a couple of its members have apparentiy left to return to hometown Olympia, Wash. Could it be true that the good die young? ______.______-P.EA.CE Twomey's ‘Chalkhills’ Less Than Ecstacy

Chris Twomey’s recent biography, Chalkhills and C h ild ren , chronicles the band XTC and is a welcome ad­ dition to bookstore shelves usually filled with overpriced glossy bio-pics and fuzzy duck calendars. Culled from lengthy interviews with band members and those inti­ mate with the group, Twomey's book is a scarce source in this country, where the group is largely ignored by the music press. However, serious fens may find something lacking in Twomey’s rather matter-of-fact and dry account The author focuses primarily on the business aspect of the group: the tiresome promotional tours that eventu­ ally made lead singer Andy Partridge have a nervous breakdown; the business of getting a single or an album in the charts; the numerous clashes between Partridge’s huge ego and whatever producer they were working with at die time (especially Todd Rundgren); and the lack of commercial success that haunts them to this day. What gets left out is any real sense of the creative brilliance of Partridge and Colin Moulding, the group’s songwriters. Apart from discovering that Partridge wrote all the songs to 1983’s M u m m er while sitting in his backyard on a AVAILABLE AT: deck chair, Twomey refrains from describing how songs are bom and developed from within die group. Twomey also spends a disproportionate amount of time (half the damn book!) describing each member’s Voted The “BEST” Comic Book Store In S.B. childhood and adolescence in masturbatory fen-boy de­ tail. The descriptions of audio experiments performed by boy Andy in his bedroom, for instance, are more than excessive. COMICS ON PARADE Where Chalkhills and Children succeeds is in con­ veying a sense of the touring life (some of this is due, not to Twomey’s credit, but to the reprinting of a roadie’s di- 933 State St. • 965-2400 ary in one excellent chapter), as well as the rationale for Andy Partridge’s “Hardest-to-work-with Man in Show Fri & Sat 10-8 • Sun-Thurs 11-7 Business” tide. It is a quick read and entertaining in patches, but for those looking for a musical appreciation I suggest you save your schillings and keep waiting. COMICS • POSTERS • T-SHIRTS • GIFTS • AND MORE!

•’ * j-^Ted Mills' DailyNex 4 A Thursday, January 14,1993 ARTSWEEK

Art Revi( n A T S /’**« ■ HAVE

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Jerry Kearns UCSB Alumnus Explores the Postmodern in Art Exhibit I II ■ ¡1 by Pax Wassermann ;‘j lvis, napalm, the Catholic Church. repulsion which must be ignored. Like his ’60s predeces­ Compile the postmodern references. Confi­ sors, Kermis recognizes that art is where you find it, and The U C S B gure the connections. Then call it art significance is as much on your TV and in your celebrity University Art Which is exactly what artist/cultural activist magazines as in.any high art New York gallery. Museum will E The show, which is a collection of 24 paintings and feature the works Jerry Kearns has done with his heterogeneous mix of im­ ages, presented in a retrospective of his work entitled lithographs done by the artist since 1983, highlights this of Jerry Kearns in “Deep Coven The Deadly Art of Illusion,” now showing sense of modernity. With titles like “Naked Brunch,” ‘Deep Cover: The at the University Art Museum. “Affirmative Action,” “Talking Heads” and “Solid Deadly Art of Keams, who received his Master of Fine Arts degree at Gold,” Keams’ work reads like a compendium of the Illusion' through UCSB in 1968, is die modem equivalent of a Renais­ h e p , drawing upon such subject matter as militarism and Feb. 21. The pop sance thinker— a true pop culturist to whom nothing is machismo, gender inequalities, consumerism and the artist, who artistically irrelevant. Following the leads of pop artists American Dream. graduated from Andy Warhol and Roy Lichtenstein, Keams looks for UCSB in 1968, significance in media buzzwords and the flood of images Despite the multitextuality of his sources, Keams is uses media icons, that make up contemporary society— leaving behind the able to make insightful inferences about the relation­ such as Elvis all-too-common attitude of artists that pop culture is a ships between them. The images in his paintings, many (right), as source of which have been extracted from previous pop artists, material for his have been so “reproduced” that their referentiality has work, including been stripped away. Keams’ task is to take these oft-seen ‘Earth Angel’ (far images — Elvis, the Statue of Liberty, ’50s-era comic rig h t). book heroes, Marilyn Monroe and Kim Phuc, the na- palmed Vietnamese child whose photograph dominated the ’60s — and expose their subtleties through striking juxtapositions.

In “Earth Angel,” Keams superimposes the Warhol silk screen of Elvis Presley, paunched and pistol-drawn in classic Old Western attire, over a photograph of Kim Phuc running from a napalm blast The artist takes these familiar images — one full of romance and macho hero­ ism, the other dark and horrific — and “defamiliarizes” them, causing us to look at them in a new and critical way. In this manner, Keams merely “suggests” signifi­ cances and, despite his often stark contrasts, acts only as a filter of the “already-seen,” picking images from the everyday to tell us about ourselves. In the case of “Earth Angel,” the juxtaposition of Phuc and Presley suggests the roots of militarism in the spirit that “won tire W est”

In “Naked Brunch,” a comic book depiction of a man and a woman feeding on raw fish while seated in a life­ boat is shown over an image of the Statue of Liberty. Like much of Keams’ work, the piece escapes singular inter­ pretation, referring more generally to the relationship between consumerism and the American Dream.

Though his art may be rooted in the work of Warhol and Lichtenstein, pieces like “Earth Angel” and “Naked ||P| - t'- \ Brunch” suggest Keams’ commitment to go beyond the celebration of excess to achieve more political ends. His Hill llii illlli | J - ip l work is indicative of an artist who has struggled with the place of art in a capitalist culture, and his past involve­ ment with activist organizations like Political Art Documentation/Distribution (PADD, a New York ...... group which he helped to found in 1980) back this com­ * mitment with action. Keams integrates art and politics The Statue of Liberty and 50's-era comic book characters are juxtaposed in with a style that is both witty and engaging— and that is Ream's 1985 work ‘Naked Brunch’ (above). no minor accomplishment With his revealing juxtaposi­ -— " " * " tions of media icons, he resists the temptations of ob­ The above work is by Rosie Ratnirt scure pretension to deliver art that — uncommonly — in the Women's Center Gallery.M lives in the same space as its spectators. aily Nexus ARTSWEEK Thursday, January 14,1993 5 A

: Review book review

Douglas Adams Adams’ Latest Mostly Crap

Before delving into the historical roots from which it sprang, let us get this tidbit of information up front Douglas Adams’ Mostly Harmless sucks. To really ap­ preciate how much it sucks, however, you must under­ stand the lofty heights from which its author has fallen. Once upon a time, a very funny man named Douglas Adams created a short series of radio programs called “The Hitchhiker’s Guide to the Galaxy,” a science- fiction comedy that was so popular on radio that it was converted to book form, becoming even more success­ ful. The two books that chronicled the story, T h e Hitchhiker's Guide to the Galaxy and The Restaur­ ant at the End o f the Universe, were very, very funny, and we all bought them, read them and laughed at them. We giggled and guffawed at the wacky adven­ tures of Earthman Arthur Dent, career space- hitchhiker Ford Prefect, two-headed President of the Galaxy Zaphod Beeblebrox and his female companion Trillian. Despite ending quite nicely after the first two books, Adams continued the Hitchhiker’s saga in a third book, Life, the Universe and Everything, which was— plotwise— a strange departure from the original story. Yet, it was very funny, and we all bought it, laughed at it and enjoyed it With the third book coming to a nice and seemingly final conclusion, we all said farewell to Arthur, Ford and company, completing the trilogy. Or so we thought. A fourth book in the “trilogy” appeared a few years ago, a dreadful piece of crap known as So Long and Thanks For All the Fish. Because it had the H itch ­ h ik er's name, we all bought it and read it— but much to our chagrin, we found that the only reason Adams could possibly have had in writing this forgettable trash was to take us for even more money than we’d paid for his other books. And now he’s back to do it again. Hie fifth book in the “trilogy,” Mostly Harmless, is now on bookstore shelves, and fans of the classic Hitchhiker's story are no doubt buying it up to see if the master humorist has regained his form. Be assured, he has n ot Once again, Adams exhumes the bodies of his origi­ nal characters and throws them through an unlikely se­ ries of events ds they race around the galaxy in what can only be called a stupid and brainless way. First we have Trillian/Tricia McMillan, who did/didn’t get on a spaceship with Zaphod all those years ago, and who is/ isn’t still living on Earth, which was/wasn’t destroyed Living on the Faultline by a Vogon construction crew at the beginning of this whole Hitchhiker's nonsense. By the time Adams To be a single parent/student in to­ s tan ding and bureaucratic insensitivity, makes a lame point about parallel universes, the book day’s high-stress and demanding uni­ Ramirez explains her work as “an edu­ is already several chapters in and the reader is hard- versity setting is a precarious situation. cational project for anyone and pressed to give a shit In “On The Faulthne,” an eye-opening everyone.” And then there’s Arthur, whose love interest photo exhibition currently on display in The exhibition is organized as a series Fenchurch, was mysteriously vaporized during space the UCSB Women’s Center gallery, of intímate photographic portraits of transport at some point after S o L on g and before single parent/student Rosie Ramirez ex­ single parent/student families, supple­ M ostly H arm less. Arthur contemplates her for a para­ plores this isolated and often misunder­ mented with handwritten statements by graph or two, but then goes about his wacky, zany stood thread of the diverse campus the sitters describing what it is exactly to space exploits, which lead him to a planet where he is fabric. be unmarried, and struggling with child actually happy, admired and at home. And so, of The works capture the situation of and schoolwork alike. Earlier this course, Fond shows up and ruins everything. these fellow campus inhabitants in the academic year, the exhibition was dis­ But wait there’s more. Ford is trying to get posses­ style of a photographic social documen­ played in Nicoletti’s, and later at the UC sion of the new Hitchhiker’s Guidebook, which is, in tary. The images give us a glimpse of Santa Cruz Women’s Center. fact, not a book at all but a black frisbee/bird/ single parent/students, and the difficul­ Ramirez professes that she is “desp­ hallucination-of-your-choice, which is just part of ties of having more than just scholastic erately trying to change the situation of some big evil plot perpetrated by the company that responsibilities. the single parent/student” from the un­ bought out the previous owners of the Guide (this may "People don’t realize what it is to be a recognized and underrepresented por­ or may not be tire plot of Mostly H arm less... it’s diffi­ single parent/student,” contends Ra­ tion of the student body, by raising cult to say). Before we know it, Trillian shows up with a mirez, explaining the particularly con­ awareness of their existence. Likewise, bratty, bitchy teenage girl whom she declares is Ar­ fusing situation in which peers are prac­ she wants to send a message of hope to thur’s daughter. Hie girl— whose name, appropriately, tically nonexistent, and representation the members of this minority by docu­ is Random — runs away and forces our heroes Arthur on campus even less so. menting and publicizing their cause. and Ford to find her on Earth (the one that w a sn ’t de­ Ramirez adds that with proposed The exhibition’s opening is sche­ stroyed ... pay attention, now), but only after they en­ budgetary cuts to ATFC (Aid To Fami­ duled for this Tuesday evening, jan. 19, counter Elvis and buy his spaceship. Meanwhile, a lo- lies with Children) many single parent/ from 5 to 7. Ramirez encourages all who botomized group of aliens sits on the outskirts of the students could be faced with noncom­ are interested to come and check out her solar system not knowing what they’re supposed to do, pletion of their diplomas and, as she as­ work, and to leam about why the life of until — of course — they destroy Earth for no reason. serts, will be “condemned to working at the single parent/student is comparable This is a very stupid book. It’s not fanny, it’s not even McDonalds for the rest of their lives." to living on a metaphoric faultline. interesting, and other than the fact that it may have fi­ As a visual solution to this misunder- —David Rittenhouse nally killed off Adams’ characters once and for all, there are not many positive things that can be said ab­ e Ratnrez, whose photos are featured out this mindless drivel. tilery. —Scott McPherson 6A Thursday, January 14,1993 ARTSWEEK Daily Nexus The 'Savage Man’ Speaks Men's Movement Leader and Poet Robert Bly Comes to Santa Barbara With a Door by Martin Boer . « 7 ;V 7$"

he Academic Elite does not like set because of the “wild man.” I make a Robert Bly. The right tells us he distinction between the “wild man” and is infantile, naive; a victim sub­ the “savage man.” The “wild man” is not a T scribing to the Peter Pan syn­ biker. Capitalism has done lots to get rid drome; he is romanticizing inner turmoil; of this man. The right wing tend to be apo­ too grandly sentimental about youth. logists for industiy. Meanwhile, the left sees him as a threat to The left wing, I don’t know. I am left- their attempts at unifying America’s cul­ wing myself. The left wing has never dealt tures; he is pointed out as a separatist, with myth before. Mainly right-wing per­ sexist and irrelevant. But Bly keeps on sons like T.S. Eliot and Ezra Pound drumming. worked with myths. Therefore the left In his only Southern California ap­ wing automatically sees it as hostile. pearance, Bly will perform alongside the Some of the criticism is right though. drumming of former Door John Den- AW: Considering how much power men smore this Saturday, Jan. 16 at 8 p.m. in hold and since it is essentially a “man’s the Arlington Theater. The show will be a w orld, ” many people sympathetic to wo­ benefit celebrating the dedication of the men’s rights end up questioning the Joseph Campbell Library at Carpinteria’s men's movement Is this fair? Pacifica Institute. Bly: Lots of women do feel that way. It Billed by Bill Moyers as “perhaps the was not my idea to make it a men’s move­ most influential living poet,” Bly is riding ment I supported my,children in the ’70s famously atop the new wave of men’s by giving seminars, both to women and movement support groups popping up men, about mythology. It never received across the country, many of which were much attention. Now that the audience is inspired by his book Iro n Jo h n . Because only male we hear “Oh my God it’s a of the controversy invoked men’s movement.” by the movement, the poet The pressure of work, has been launched into the "There is a the draft into the army, ranks of household names ambition and traditional including Allen Ginsberg, war between roles of men thinned their Shel Silverstein and Carl men and emotional body. Men are Sandburg. thin and deprived. Women He coedited a recent women, A are aware of this. I am in­ poetry anthology, T h e R ag 500or terested in making a wider and Bone Shop of the emotional body. This is H eart, that includes wo­ 5,000-year-old why we urge them to hear men poets such as Emily poetry, sing, dance and so Robert Bly Dickinson and Carolyn war.” on. Kizer as well as the eclectic What women call “pat­ Charles Bukowski. Bob riarchy” does not encour­ respect towards women. grace and intelligence. Dylan and Catullus. age this inner healing. I understand there AW: As a poet, does having a purpose in A W: You frequently cite traditional rites A rtsw eek caught up with Bly at his is a lot of pain because of rape and the mind compromise your artistic of initiation that are dearth in Western Moose Lake, Minn., home where he horrendous violence against women. The p ro cess? industrial society. Do you think that the fielded some questions about men, wo­ pain is so deep that you can’t expect them Bly: No idea. Auden said, “A poet is not Boy Scouts, youth gangs or Bar Mitz- men and the politics surrounding both to always be sympathetic. someone who wants to say something, vahs serve as near equivalents? camps. AW: You mentioned in the B ill Meyers but someone who stands o n the street Bly: The Boys Scouts are very important Artsweek How would you define the film Gathering of Men that President comer to hear words talk.” I don’t write and are one of the few places where this m a le? Reagan was in a state of denial regard­ to say something. If the poem goes some­ does occur. You need a strict initiation Bly: I will first have to refer you to Iron ing his father’s alcoholism and therefore where, I keep i t If it does not, I throw it that your father can’t give. These leaders fo rm , where man has seven parts: king, could not lead. What are your first im­ away. won’t have the competitiveness that you warrior, lover, wild man, trickster, pressions regarding Bill Clinton? AW: A local psychologist told me that have with your father. You don’t expect mythologist and grief man. This whole Bly: The Democratic Convention made sometimes men leave men’s groups feel­ much from your own father and wear a community of beings is the grown man. clear that most of the good things he got ing hostile or angry towards women. sort of amused reaction towards him. Women share these too. Usually people in his life were from women — his How do you feel about this? are very one-sided and have only two or mother, grandmother, so on — he seems Bly: There is a war between men and wo­ The street gangs have no older males at three of these seven sides. I only have to be the first president with this back­ men. A 500 or 5,000-year-old war. The all. It is helpful to them, but so destruc­ three. So it’s confusing. ground. It was also clear that Al Gore has anger towards women is part of the lim­ tive. They can’t teach each other any­ AW: It seems that both right and left- gotten his good things from men, his ited emotional part of men. If you come to thing. They can defend and kill each wing ideologues are critical of your father and grandfather. These two make the meeting to shame women, you are other, but they can’t teach, because they work. Why do you think this is? an excellent pair. The election of Clinton asked to leave. We read poems by women all know the same things. That’s the grief Bly: No idea. I think the right wing are up­ is important because of his openness and and speak as clearly as we can about their of the gangs. It hasn’t worked. Performance Artist Roger Guenveur Smith Sets the Record Straight

by Anita Mlralle Smith: The latest piece I did was called Christopher Col­ umbia, 1992.1 performed that all over the country dur­ rowing up, Roger Guenveur Smith never ing the fall of 1992. That also placed a historical charac­ thought he could make a living on the stage. ter in a modem context It was interpreted as Christo­ pher Columbus running a travel agency and being a part-time entertainer. He has political aspirations as G But now we have all seen him in the films D o well. The Right Thing, and M a lcolm X , as well as on I’ve been collaborating with Cauldwell and Grove for the television series “A Different World.” a number of years and we’ve done a number of multime­ After experiments with rap, deejaying, theatre, video dia performances like United States o f Emergency and and film, Smith has now found his niche doing multime­ Conflict Endurance. dia performance art A W: Given that you have a progressive and outspoken Smith will perform Frederick Douglass Now Tues­ ideology, do you find it difficult working in an atm o­ day, Jan. 19 at 8 p.m. in the Main Theatre. This multime­ sphere where you are open to the public? dia tribute to the abolitionist leader incorporates the Smith: It does ¿fleet my work, and the work I have done diaries, letters, speeches and biography of the slave Dou­ has always had a political or cultural edge to it. There is glass while merging 20th century reggae, hip-hop and video technology. certainly enough s h le c k in Hollywood which has no po­ litical or cultural edge to it Someone called me up the A rtsw eek asked Smith to explain the genesis behind his multi-faceted performance art. other day and wanted me to play a drug dealer who shoots his 16-year-old brother. In that case, the option A rtsw eek When did you first becom e interested in per­ formance art and stage work? for any kind of real expression is very minimal. I have Smith: I started doing stage work when I was a teenager been very fortunate to have come up in the same genera­ in Los Angeles, doing school plays and speech contests. I tion as Spike Lee and John Singleton, who are attempt­ then majored in American Studies at Occidental Col­ ing to make viable, interesting and important statements. lege. While there I toured around Los Angeles with the AW: Now that you mentioned Spike Lee, how was it Society for Black Heritage Drama to community centers, working with him? Smith: That’s a very vague question that I get asked every churches, schools. Roger Guenveur Smith time. It’s been a great experience and I hope we continue I went on to graduate work in Afro-American studies at Yale and wound up in their drama school, where I working together. started working with video artists Caul dwell and Grove him as well known as Washington, Lincoln, Jefferson AW: What was your favorite film with him? and we did a whole series of multimedia performance and other slave owners. Smith: Definitely Do the Right Thing. Smiley was a pieces. AW: Why do you think he is not given a spotlight in our character I created and developed the storyline and dia­ AW: What led you to becom e interested in Douglass? history books? logue for, including the concept of using the postcards of Smith: Douglass’ story is one that lends itself very easily Smith: Because he was a critic of the hypocrisy of Malcolm X and Martin Luther King. AW: What can the audience expect from your to drama. Here is a man that was bom a slave, and basi­ America. An America that annually celebrates the 4th of cally had to teach himself how to read and write. He July and yet holds one out of every seven citizens in performance? went on to become an internationally recognized, re­ slavery. Smith: Hopefully a new sense of respect for a greatly ne­ glected American hero. Hopefully the audience will be spected speaker, not only against slavery, but against AW: Aside from the Douglass pieces, what other solo stimulated to read Douglass in the original. sexism. He was the only man to participate in the first pèrfórìrìdrtdeS ‘hdtte' fóu worked on? ■ ‘Wbhieh’s1 Rights CbhWntldrf h i l848.TrWihf td make Daily Nexus ARTSWEEK Thursday, January 14,1993 7 A film review Chronicling the Tramp

C h a p lin is good. But not great. Cramming the 88 years of Charlie Chaplin’s life into a two-hour film means one must com­ promise. Director Richard Attenborough certainly -s • PROGRAM BOARD has, choosing to focus on the slapstick, the fun and tragedy of the famous star without even pretending to explain the motivations behind the other characters. The film is based on E xT rM jm * Chaplin’s autobiography, written by a private man who was arguably senile to boot. Wives and child­ hood are glanced over in a matter of seconds, leaving the audience hurried. >6, Considering the wealth of anecdote and mystique surrounding Chaplin, the man, it is especially disen- heartening to witness a merely good film about a In case you didn't already know it, Robert Downey, A&PROGIWIBOARDisseeldngalttjotorepresent great artist Jr. is Charlie Chaplin. Really. Just deal with it. Chaplin himself, played EXTRA VAGANZA *93. Al entiles stafi be dropped by Robert Downey Jr., is not the problem. In fact, their strengths are never the elder Chaplin various off at Program Brani (MR. Ucen.) Please atth Downey’s resemblance is realized due to the hasty questions. Hopkins re­ so convincing that his script’s lack of transition. mains dignified and reve­ your name end phonef. Dea*»: Jan. 29. slapstick antics save the Dan Ayckroyd, Kevin rential without revealing film; a likeness as authen­ Kline and Penelope Ann the slightest about his own tic as Val Kilmer’s Jim Miller play Hollywood character or motivations. Morrison and Denzel friends of Chaplin who re­ The movie is relatively Washington’s Malcolm X. main just that: friends of flat, allowing the audience fill 111 Downey’s cockney train­ Chaplin. virtually no access to the ing and well-spent ballet James Woods impress­ emotion or drive of any lessons allow us to quickly ively plays an attorney in a character. But a superb forget the young, bratty brief role that brings home performance by Downey III il Robert Jr. of S o a p d ish and the mire and mold of FBI and authentic Chaplin Less Than Zero infamy. chief Hoover’s character footage keep the audience Besides the title role, assassinations. laughing between yawns. there are a number of Various swatches of If C h a p lin says any one JANUARY 15,1993 other powerful and exper­ Chaplin’s life are framed thing, it is that Downey ienced actors at work in by a biographer, played by has finally arrived. the film. Unfortunately, Anthony Hopkins, asking —Martin Boer ION STORKEPLAZA Sem form al Banquet and Dance The Chaplin-Santa Apacopda Barbara Connection 935 Embarcadero Del Norte 685-3112 Qoleta Vak Cantor Bom in London on April 16th, 1889, Charles Chaplin sm grew up the son of two variety artists — the world of his childhood warped and precarious. His hither was a 1/20 WEDNESDAY U em ben:$15/N ori tim ben : $1B vaudevillian and an alcoholic who deserted his family BIM SKALA BIM and died young. His mother was a music hall singer who eventually lost her voice and went insane. Making his debut on the variety stage at the age of 10, his youth was strewn with obstacles as he struggled to make it as a FAITH performer. P l®RE When he was 21 he came to America as a member of a 0 1 AS. PFKXxRAMBOARDisctiTBrtfyseeldngan travelling music hall company and was quickly discov­ k n * ered by Keystone Comedies director Mack Sennett Cha­ IT O Y L A N D 1 plin was dexterous with uncanny timing and a deep Assistant Security Coonfnaior. Prior security pathos— a highly original performer whose paradoxical 1/22 FRIDAY blend of awkwardness and dignity would soon elevate si­ experience recommended. Position open to al. lent film comedy from slapstick to a true art form. JORMA On June 16,1943, Chaplin found himself in Carpin­ KAUKONEN Apply at Program Board (3rd FI Ucea) tería entering his fourth marriage; this time to Oona A c o u s t ic O’Neill — daughter of the famous playwright Eugene O’Neill. Chaplin and his bride obtained their marriage license in Santa Barbara and took their honeymoon ¿TOASTERS m e m close by, renting a home in Montecito for two months. ■ ""KING I Rumor has it that Chaplin and Fatty Arbuckle co-owned ;r:APPAiw üsf?l the Montecito Inn. Michael Redmon of the Santa Bar­ 2/3 WEDNESDAY bara Historical Society, however, denies these rumors, including a claim that Chaplin worked through Flying A ICE CUBE Productions, which once occupied the city block at Mis­ DA LENCH sion and De La Vina. "He may have visited Santa Barbara at one time but he MOB |||p2/6:a/ppff3A ^:|I wasn’t associated with Flying A Productions,” Redmon tf lie d you could owiW s cool T -elitfcrFR EII said. “I just don’t think there is any real connection.” BQB MARLEY The proprietors of The Green Dragon, a coffee shop Ig f e iA Y which was once part of Flying A, suggest otherwise. bCOflM ON SENSE “We’ve been told he made movies with Flying A,” 1 UNDERGROUND ¿I Green Dragon owner Tiffany Lachsaid. “And that Flying S Y N D IC A TE A filmed their movies here.” i ; PLUS M UCH MORE t Despite the controversy over his involvement with Flying A, Chaplin’s mark was well-made on local audi­ 2/15 MONDAY ences. Exiled from the U.S. in 1952 on the grounds of moral unsuitedness, Chaplin eventually returned to Ca­ KING MISSILE lifornia in 1972— to receive an Academy Award. In the MUNKS OF DOOM opening remarks of his acceptance speech, the 83-year- old Chaplin made a comment which has a coincidental &JNACH1QK& FOR MORE INFO CALL 893-3536 relevance to the local rumors. “Words are so futile,” he FRI&SAT 12 AM-3 sighed. “So feeble.” AFTERHOURS DANCING —Aaron Santell i^ ^ lleiiilliillBbl» at MijlÄhous« or Rockhous* or call 685-5901 Lug, lug, lug ... 935 EMB. DEL NORTE ■ Fill out and bring in to the Nexus Ad Office, under Storke Tower, by Wednesday, Feb. 17 at 5pm Address: Name: Phone #: Phone Best of UCSB Lifestyle 1993 Lifestyle UCSB of Best 32. Best Way to Get Tar Off Your Feet Your Off Tar Get to Way Best 32. Spot Surf Best 30. 31. Best Surf Shop Surf Best 31. Beach Best 29. 6 Bs c ra Shop Tab Cream the Ice up Best Picking are 26. Folks Your if Eat to Place Best 25. Watch People to Place Best 9. Nature With Commune to Place Best 8. 28. Best Gym Best 28. Bakery Best 27. View a With Restaurant Best 24. Place Breakfast Best 23. Place Vegetarian Best 22. 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